1) Harrison must have at least 50-60% of the screentime. I don't care if they introduce a young Indy whose story is running parallel to Harrison's. But Harrison must be given a dignified last hurrah - not made the butt of age jokes as in the last movie. Even if they have to use a stuntman, let Harry's Indy engage in some action. Include gun and whip play by Harrison's Indy - both of these were sorely missing from KOTCS.

2) Don't kill Harrison's Indy off.

3) Don't have Harrison's Indy accompanied by a young sidekick who does most of the dirty work. Don't have Indy drink from the Fountain of Youth. I have no interest in Indy movies set in the '80s and '90s.

4) No Chris Pratt, PLEASE, for the love of God, any actor besides Pratt.

5) Do not set the film any later than 1969.

6) Bring back Sallah even if it's just in a small cameo.

7) Do NOT retcon any of the other movies, or the YIJC out of continuity.

8) Try to bring Indy - both Harrison's Indy and a younger Indy - back to his anti-hero roots.

1) Harrison Ford should have 100% screentime.
2) I don't want old movies, Young Indiana Jones tv show or the novels to be retconned.
3) If the movie is set after KOTCS, Marion should make at least a small cameo. I don't want her to be ignored or them to be divorced.

Do:-Hire a new screenwriter.
-Go exclusively for fresh faces with the sidekicks and villains.
-Keep Indy out of America, if not the entire western hemisphere.
-Film on location where it would improve the film's sense of scope.
-Make Indy's proximity to the grave a thematic hook, and tie his mortality in with the artifact.
-Design the story as Indy's last hurrah.
-Generate an earned sense of awe and intrigue.
-Bring back sadistic bad guys.
-Bring back a sense of danger and spookiness where appropriate.
-Bring back the cliffhangers.
-Bring back the scenarios of Indy having to get out of an impossible jam by doing something clever or desperate.
-Let Indy be proactive when he has a clear opportunity to be so.
-Have a new Indy Girl despite Indy being married. Let the lack of romantic potential be an opportunity to put a new spin on the concept.
-Throw in a single line that comically explains away Indy's Marshall College/Barnett College flip-flop for the benefit of Raveners.
-Have Indy lose an eye by the end.

Don't:
-Introduce subplots that you have no intention of paying off.
-Introduce characters you have no use for.
-Introduce a badass vehicle attached to spinning blades that you're going to immediately discard.
-Have Indy willfully helping the villain the whole way through.
-Overly complicate Indy's motivations for embarking on the adventure.
-Use a promotional still for the portrait of a dead character.
-Retcon backstories for the sake of it.
-Cut from the teaser to the establishing shot of the college. Remember we're not in America this time.
-Reprise a musical cue from a different movie to cheaply evoke feelings your own story failed to elicit.
-Allow Kaminski to do whatever he did to make the fourth move look like that.
-Destroy any sense of immediacy that your real stunts and locations might well have created before the unnecessary CGI in combination with the above conspired to make it all look like green screen work.
-Give any other character the equivalent of Ford's screentime. This is his finale.
-Feel obligated to sum up the culture of the decade the story takes place in.
-Reprise Mutt or Marion. Acknowledge them and let us know that Indy is happy with his family, but nothing more is required because after all, he's not in America this time.
-Give your characters awareness that they're in a movie and protected by plot armor by having them gleefully drive off cliffs.
-Castrate your lead villain by having him or her stand there and watch patiently as their captives finish quipping at each other.
-Just let things resolve on their own when there's an opportunity for the characters to work for it.
-Spend any amount of time setting up the reboot. Let the reboot handle the reboot, and make the fifth movie the final adventure of Harrison Ford as Indiana Jones. No cross-pollination.

The juxtaposition of the shadow against character separates the first three from your example. There's no person to personify the shadow in your example. It's a subtle difference that's very powerful to the unconscious connection you feel to the character. Without a body to oppose, the shadow is just that.

The juxtaposition of the shadow against character separates the first three from your example. There's no person to personify the shadow in your example. It's a subtle difference that's very powerful to the unconscious connection you feel to the character. Without a body to oppose, the shadow is just that.

I thought the image of Indy's silhouette against that of the mushroom cloud in Nuketown was very powerful. It wasn't a shadow, but for me it had the same effect. Indy in a new and one might say alien era.

Do:-Hire a new screenwriter.
-Go exclusively for fresh faces with the sidekicks and villains.
-Keep Indy out of America, if not the entire western hemisphere.
-Film on location where it would improve the film's sense of scope.
-Make Indy's proximity to the grave a thematic hook, and tie his mortality in with the artifact.
-Design the story as Indy's last hurrah.
-Generate an earned sense of awe and intrigue.
-Bring back sadistic bad guys.
-Bring back a sense of danger and spookiness where appropriate.
-Bring back the cliffhangers.
-Bring back the scenarios of Indy having to get out of an impossible jam by doing something clever or desperate.
-Let Indy be proactive when he has a clear opportunity to be so.
-Have a new Indy Girl despite Indy being married. Let the lack of romantic potential be an opportunity to put a new spin on the concept.
-Throw in a single line that comically explains away Indy's Marshall College/Barnett College flip-flop for the benefit of Raveners.
-Have Indy lose an eye by the end.

Don't:
-Introduce subplots that you have no intention of paying off.
-Introduce characters you have no use for.
-Introduce a badass vehicle attached to spinning blades that you're going to immediately discard.
-Have Indy willfully helping the villain the whole way through.
-Overly complicate Indy's motivations for embarking on the adventure.
-Use a promotional still for the portrait of a dead character.
-Retcon backstories for the sake of it.
-Cut from the teaser to the establishing shot of the college. Remember we're not in America this time.
-Reprise a musical cue from a different movie to cheaply evoke feelings your own story failed to elicit.
-Allow Kaminski to do whatever he did to make the fourth move look like that.
-Destroy any sense of immediacy that your real stunts and locations might well have created before the unnecessary CGI in combination with the above conspired to make it all look like green screen work.
-Give any other character the equivalent of Ford's screentime. This is his finale.
-Feel obligated to sum up the culture of the decade the story takes place in.
-Reprise Mutt or Marion. Acknowledge them and let us know that Indy is happy with his family, but nothing more is required because after all, he's not in America this time.
-Give your characters awareness that they're in a movie and protected by plot armor by having them gleefully drive off cliffs.
-Castrate your lead villain by having him or her stand there and watch patiently as their captives finish quipping at each other.
-Just let things resolve on their own when there's an opportunity for the characters to work for it.
-Spend any amount of time setting up the reboot. Let the reboot handle the reboot, and make the fifth movie the final adventure of Harrison Ford as Indiana Jones. No cross-pollination.

Keep the CGI to an absolute minimum. Something TFA got right was trying to recapture the look of the SW OT. This new film needs to do the same here. KOTCS looked nothing like the Indy OT.

Make the action as over the top and epic as what we got in ToD. The action in KOTCS was so toned down that the whole film was a giant bore. (Though I think this was also a combo of the massive amounts of awful CGI)

Give us a score that's as epic and unique as the scores in the first three films. The score for KOTCS felt phoned in and didn't live up to the epicness of the other three scores at all. Not even close.

Give the film a more serious mood ala Raiders. What we got in KOTCS bordered on being a full blown farce. It was just way too goofy, and I'm not talking about the fun goof like in ToD. It was boring and painful to sit through.

Make the humor natural and appropriate for the scene and the movie. Don't overdo it and ham it up like KOTCS.

Just because Indy/Harrison is older doesn't mean Indy has to go on an "Old Man's" adventure. Keep things as breakneck and fast paced as ever. Regardless of age, Indy can still handle it. Judging by KOTCS you would have thought Indy was pushing 90.

Give us the most intense and intimidating villain to date in the franchise. Not that absolute farce of a villain we got in KOTCS.

Essentially, don't be anything like KOTCS, in any way. Be more like the OT, in every way.

Let's say the film takes place in 1972. Indy is on an adventure with a sidekick, let's say Short Round or a girl. During the adventure he tells him or her the story that he in fact has been on the same adventure 30 years earlier but never found the artefact he was looking for or that something happened because of the war. So there are flashbacks so we can have Nazis. And Indy is now retracing his steps in order to find it. Maybe too much a nod to the Cross of Coronado or the gold idol from Raiders in Infernal Machine?

Anyway, just make it like the original trilogy. Shoot on location, use real living creepy crawlies, gruesome deaths of the villains without CGI, more subtle humor and nothing childish as in KOTCS. Maybe like ToD, set the entire movie in other countries already. Even though we won't have instant replays of classic scenes like Indy teaching and someone entering the class room. It might be over the top but also a darker mood won't hurt.

And I agree, don't take Chris Pratt as Indy and keep Shia away. Further don't hurt the timeline.

Keep the CGI to an absolute minimum. Something TFA got right was trying to recapture the look of the SW OT. This new film needs to do the same here. KOTCS looked nothing like the Indy OT.

Make the action as over the top and epic as what we got in ToD. The action in KOTCS was so toned down that the whole film was a giant bore. (Though I think this was also a combo of the massive amounts of awful CGI)

Give us a score that's as epic and unique as the scores in the first three films. The score for KOTCS felt phoned in and didn't live up to the epicness of the other three scores at all. Not even close.

Give the film a more serious mood ala Raiders. What we got in KOTCS bordered on being a full blown farce. It was just way too goofy, and I'm not talking about the fun goof like in ToD. It was boring and painful to sit through.

Make the humor natural and appropriate for the scene and the movie. Don't overdo it and ham it up like KOTCS.

Just because Indy/Harrison is older doesn't mean Indy has to go on an "Old Man's" adventure. Keep things as breakneck and fast paced as ever. Regardless of age, Indy can still handle it. Judging by KOTCS you would have thought Indy was pushing 90.

Give us the most intense and intimidating villain to date in the franchise. Not that absolute farce of a villain we got in KOTCS.

Essentially, don't be anything like KOTCS, in any way. Be more like the OT, in every way.

TFA had a ton of CGI. And I thought the score was a lot less epic than KOTCS. I think TFA had maybe one or two memorable themes...KOTCS had at least 3 memorable themes IMO.